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Che Wetropolitan Museum of Art 


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PA alOGUE 


OF AN EXHIBITION OF 


Spanish Paintings 


FROM EL GRECO 
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NEW YORK. FEBRUARY 17 TO -APRIE I 
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THE MUSEUM DESIRES TO MAKE 
MOST GRATEFUL ACKNOWLEDGMENT TO THE 
MUSEUMS AND COLLECTORS 
WHOSE GENEROSITY AND PUBLIC SPIRIT 
HAVE MADE POSSIBLE THIS 


EXHIBITION 


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LENDERS 


ANONYMOUS 
JULES Ss. BACHE 

MRS. EDWIN S. BAYER 
HUGH BLAKER 
GEORGE BLUMENTHAL 
EUGEN BOROSS 


JOHN NICHOLAS BROWN 
MRS. CHARLES B. CURTIS 
THE DETROIT INSTITUTE OF ARTS 
COLLECTION OF THE LATE 
MRS. THOMAS J. EMERY 
JACOB EPSTEIN 
MAX EPSTEIN 
FOGG ART MUSEUM 
MICHAEL FRIEDSAM 
J. HORACE HARDING 
EDWARD Ss. HARKNESS 
F. H. HIRSCHLAND 
DE WITT V. HUTCHINGS 
ANDREW W. MELLON 
THE MINNEAPOLIS INSTITUTE OF ARTS 
J. PIERPONT MORGAN 
AARON NAUMBURG 
MRS. CHARLES S. PAYSON 
DUNCAN PHILLIPS 


MRS. WHITELAW REID 

RHODE ISLAND SCHOOL OF 
THOMAS FORTUNE RYAN 
MARTIN A. RYERSON 


MORTIMER L. SCHIFF 
DAVID E. STALTER 


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THE TOLEDO MUSEUM | OF ART 
PAUL M.WARBURG = 
HARRISON WILLIAMS _ 
JOHN N.WILLYS | 


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CONTENTS 
LIST OF LENDERS page Vil 
INTRODUCTION xl 
CATALOGUE OF PAINTINGS I 
INDEX II 


ILLUSTRATIONS 13 


INTRODUCTION 


SPANISH painting as such did not appear until about the year 
1600. As late as the middle of the previous century, when 
Italian art had passed the culmination of its great period 
after more than two hundred and fifty years of productivity 
and the painting of the Low Countries had already had a 
vigorous life of a century and a half, no intimations of a 
national school were discernible in Spain. 

‘True enough, a long time before, mediaeval illuminators 
there had produced works like the illustrations to the Apoca- 
lypse by Brother Beatus, which learned archaeologists today 
hold to have been important exemplars for the art of twel fth- 
century France, but these were cosmopolitan in their charac- 
ter and bear no relation to what followed in Spain. The na- 
tional genius had not taken form. What Spanish painters 
there were in early times followed foreign fashions, and the 
effort of the artist died with him. Except in rare instances, 
transplanted styles are short-lived. 

When the political union with the Netherlands took place 
under the Emperor Charles v and his son Philip u1, painters 
from Belgium and Holland were called to the court. Among 
these was Sir Anthony More, a Dutchman, who left his 
mark on the native development. He formed Spanish artists 
like Alonso Sanchez Coello and Pantoja de la Cruz, and 
established a style of courtly portraiture of which some as- 
pects persisted; even Velazquez deferred to this style to 
some extent. 

But the preponderant influence in the evolution of Spanish 
painting was Italian. The rapidly changing fashions of Italy 
during the sixteenth century were followed closely. Raphael 
and Michelangelo had their Spanish imitators, as had ‘Titian 


[ xi J 


THE METROPOLITAN MUSEUM OF ART 


and the Venetians. Then the Mannerists were copied and 
also the Eclectic School of Bologna. Finally, the naturalistic 
movement inaugurated by Caravaggio revealed to the Span- 
iards their own surroundings and the genius of their race; 
the Spanish school was born. 

In those years Domenico Theotocopuli, a former pupil of 
the aged ‘Titian in Venice, had settled in the city of Toledo. 
He was called El] Greco because he was born on the island 
of Crete, but his art before he came to Spain was altogether 
Venetian in its characteristics. The spell of ‘Tintoretto, Ve- 
ronese, and the Bassani is over his early pictures; to what ex- 
tent one can see in the Money-Changers Driven from the 
‘Temple, which the Minneapolis Institute of Arts lends to our 
exhibition—and those who know the Frick Collection will 


recall the Venetian aspect of the full-length portrait of Vi- 


centio Anastagi. Both these works were painted in Italy. 

Toledo, at the time of his arrival, was the most important 
city of Castile although Philip 1 had already made Madrid 
his capital. No one knows the motives of Greco’s emigration 
from Italy, where, though not yet in his thirties, he was in a 
fair way to win a high place for himself. Spain then was 
like our own country today —a land of great opportunities, 
a goal for artists. His enterprise was successful, commissions 
a plenty soon came to him. The earliest we hear of was the 
decoration of a chapel in the Monastery of Santo Domingo 
el Antiguo at Toledo. One of the pictures painted for this 
chapel, the great Assumption of the Virgin, is now in the 
possession of the Art Institute of Chicago; its permanent 
installation in the place of honor in one of their important 
galleries prevented its inclusion in our exhibition. 

A striking change came over El] Greco’s work while he 
lived in Spain — mannerisms appeared, and extravagances, 
strange elongated figures, spectral light, ashen color, deliri- 
ous and visionary conceptions. But his peculiarities were ap- 
preciated. Philip m ordered pictures from him for the Es- 
corial. Though these particular paintings failed to please his 


[ xi J : 


INTRODUCTION 


royal patron, there can be no doubt that his art was well in 
accord with the taste of his adopted countrymen. A master- 
piece of the early time of his fully developed style, Saint 
Martin and the Beggar in the Widener Collection, the 
owner was unable to lend us, but of the thirteen pictures by 
him in our exhibition all except the one mentioned in a pre- 
vious paragraph display the pronounced and most personal 
characteristics which came to him after he had outgrown his 
Italian teaching. 

His portraits alone would win him his place among the 
great painters and his landscapes are remarkable for their 
originality of vision when landscape was still largely a mat- 
ter of recipes in Italy and also for their anticipation of the 
taste of the present time. After a long period of comparative 
neglect his art has come back into favor recently, and until 
lately capital works by him were still to be had—a condition 
which our collectors have been keen to take advantage of. 
More of his pictures are owned here than of any other of 
the artists who worked in Spain. 

Many of his larger compositions exist in the form of 
sketches or, more properly, preliminary paintings. Strange as 
it seems before what appears as the astounding spontaneity 
of his pictures, we find that it was his habit to study care- 
fully beforehand all of their effects and to linger over their 
execution. Pacheco, the artist and writer, visited Greco in his 
old age and was shown the room where these preliminary 
paintings were kept. ““Who would believe,” writes Pacheco, 
“that Greco makes sketches for all his pictures and that he 
labors on them, retouching again and again so as to disjoin 
and set apart the tints, and to give to his canvases their rough 
look of a picture just begun, and to simulate freedom of 
workmanship and greater power!” 

To us Greco seems to reveal as none other the soul of the 
superb and melancholy Spain of Philip 1. But his influence 
on art was short-lived. Perhaps the very singularity of his 
temperament made it impossible to follow him. One slavish 


[ xiii | 


THE METROPOLITAN MUSEUM OF ART 


imitator he had in his son Jorge Manuel, and the work of 
the son has sometimes been mistaken for that of the father. 
Greco’s only pupil of note was Luis Tristan, a picture by 
whom, The Adoration of the Kings, is shown in our exhi- 
bition. 

‘The event proved that the naturalism of Caravaggio was 
the food that the Spanish genius craved. This style was main- 
ly made known in Spain by one of themselves, Jusepe de 
Ribera. His native province of Valencia was in close touch 
with Naples and Rome, and the youthful Ribera, following 
the custom of Valencian artists, went to Italy for study. He 
remained there for the rest of his life as it turned out, prac- 
tising his art with great success in Naples, then a dependency 
of Spain and ruled over by a Spanish viceroy. His style was 
modeled upon that of Caravaggio, being vigorously realistic 
and with strong contrasts of light and shade. 

To one who is occupied with Italian art of the sixteenth 
and seventeenth centuries, Ribera, Lo Spagnoletto (the little 
Spaniard), as he was called, appears as a link in the Italian 
tradition, having based himself on Italians and in his turn 
forming Italian pupils who carried on his principles, and in 
his pictures catering to the prevailing Italian taste. Yet in 
Spain he was the precursor of the National School, by means 
of his pictures, that is, and his effect there differed entirely 
from his effect in Italy. 

Like Caravaggio he painted only from the living model. 
This practice had a liberating result on an age suppressed by 
the prestige of the High Renaissance and its mighty accom- 
plishment. The artist who would otherwise have followed 
timidly the precepts of the commentators on Raphael and Mi- 
chelangelo discovered new possibilities in copying as closely 
as he could the people of his own neighborhood who posed 
for him. The homely qualities of his country, the spirit and 
the flavor of his race, by this means entered into what he did. 
Beauty to the Italian Renaissance meant nature purified, or- 
dered, ennobled; beauty to some other nations and times 


[ xiv | 


INTRODUCTION 


could be found in whatever existed, in all experiences and 
emotions, in ugliness and brutality even. Not only the entire 
Spanish school, in the seventeenth century, but much of what 
was most vigorous in painting throughout Europe at that 
time can be traced back to Caravaggio’s revolution. 

Ribera’s chief technical aim was the expression of weight, 
solidity, and the texture of surfaces. With the zeal of a prop- 
agandist who had taken his stand as an opponent of ideality 
and prettiness, he often chose forbidding subjects — martyr- 
doms and tortures and deeply wrinkled decrepitudes. Such 
pictures have never found favor in America and those by 
him in our exhibition are of the sort which could be loosely 
classed as portraits; they show, however, his most powerful 
draughtsmanship and his fine though sombre color. W. F. 
Cook’s Head of a Priest of Bacchus is, according to the the- 
ory of Dr. Mayer, one of the three existing fragments of a 
renowned work — ‘The Triumph of Bacchus, painted at the 
order of Philip 1v and burnt in the Royal Palace fire in the 
eighteenth century. A fine work by Ribera, a half-figure of 
Saint Paul, can be seen at the Hispanic Society. 

Seville, the chief market of the New World trade, profit- 
ed more than any other city by the conquests and coloniza- 
tions in the sixteenth century, and though its importance and 
wealth had greatly diminished in the disasters and general 
ruin which had already overtaken Spain by the end of the 
century, it was still a center of culture. Seville like the rest 
of the Peninsula had in its artistic efforts followed the course 
of the Italian development. In the early seventeenth century 
several artists were outstanding — Pacheco, classical, ideal- 
istic, pedantic, the painter and writer whom we have quoted 
regarding a visit to El] Greco; Roélas, who had founded him- 
self on the study of the Venetians; and, after the appearance 
in Seville of some pictures by Ribera, Herrera the Elder, a 
ferocious advocate of realism. In this city and formed under 
the influence of such teachers appeared within fifty years the 
greatest and most characteristic Spanish masters— Zurbaran, 


[xv ] 


THE METROPOLITAN MUSEUM OF ART 


Velazquez, Alonso Cano, Murillo, and Valdes Leal—all 
closely related in spiritual aims and in technical processes. 

‘The sombre pictures of Zurbaran reflect better than any 
others the robust faith and the grave manners of the Spain 
of his time. From his teacher Roélas he adopted some of the 
methods of the Venetians but he was uncompromisingly real- 
istic, being called indeed the Spanish Caravaggio. His fig- 
ures, always in the quiet attitudes which his models could 
hold, are engrossed in deep meditation or religious ecstasy. 
The expression and vitality of his heads are remarkable. He 
is known in American collections chiefly as the painter of 
single figures of female saints — portraits in reality of Span- 
ish ladies with fantastic cloaks and mantles, improvised out 
of studio draperies pinned over their every-day costumes. Our 
exhibition happens to contain none of these but includes two 
pictures by him which are frankly portraits, as well as two 
of his religious pieces, one of which, the Flight into Egypt, 
is lent by the Toledo Museum of Art. Two fine examples 
of his work, belonging to this Museum, are shown in Gallery 
C 29, The Young Virgin, painted about 1638, and a monu- 
mental decoration, The Battle with the Moors, one of six 
compositions painted for the Monastery at Xeres de la Fron- 
tera-Jerez near Cadiz. 

The first teacher of Velazquez was Herrera, a picture by 
whom, The Cripple, is lent to us by the Worcester Art Mu- 
seum. The early pictures by Velazquez show their close deri- 
vation from this artist. Indeed all the young painters at Se- 
ville derive from Herrera, no matter who their particular 
masters happened to be. His was the ascendant style. Herrera 
was a man of quick temper and after some quarrel Velazquez 
betook himself to the studio of Pacheco. All the circum- 
stances of his career were fortunate; Pacheco, although but 
a mediocre painter, proved to be one of those rare teachers 
who have the discernment and the disinterestedness to en- 
courage their pupils in styles contrary to the ones they them- 
selves practise. He also became the young artist’s admirer and 


[ xvi | 


INTRODUCTION 


friend and later his father-in-law. Without any deviation 
Velazquez followed the course which was best fitted to de- 
velop all his possibilities. 

His genius was not precocious but at a very early age he 
became a most competent painter of genre subjects — studies 
from the posed model and from still-life. The Saint Mat- 
thew, lent by Mr. Blaker, represents his early style. At about 
the age of twenty-four, by Pacheco’s influence and efforts, 
he was presented to Philip 1v at Madrid, painted his portrait 
successfully, and was named court painter, a position he held 
for the rest of his life. ‘The pictures executed during his first 
years at Madrid, like the Man with the Wine Glass belong- 
ing to the Toledo Museum, in our exhibition, the Philip 1v 
which can be seen in the Altman Collection, and the Duke 
of Olivares at the Hispanic Society, show but little deviation 
from the style of his works painted at Seville. They are all 
masterly paintings and the promise of his supremacy is con- 
tained in them but they lack the particular quality which his 
later works display in a degree of perfection which has never 
been equaled —the quality, namely, which the painters call 
values, the interrelation in light and aerial perspective of all 
the parts of the picture, in other words, the giving to the ob- 
jects in the picture the appearance of being at the same rela- 
tive distance from the spectator which these objects had in 
reality from the artist. ‘Chis quality was by no means the dis- 
covery of Velazquez; it made an astounding entry into paint- 
ing when artists first became realistic in the Netherlands 
more than two hundred years before his time, and painters 
of Holland, his contemporaries, following their national tra- 
dition, are his most serious rivals in its accomplishment. 

The possibilities of the painting of space and air came to 
him as he worked at Madrid and his powers grew steadily. 
The portrait of Isabella of Bourbon, lent to our exhibition 
by Max Epstein, represents the early stage of his transitional 
period. It is considered to be the original work entirely by 
Velazquez, a replica of which, due in parts to other hands, 


[ xvii ] 


THE METROPOLITAN MUSEUM OF ART 


is in the Vienna Museum. The replica was sent from Madrid 
to the court of Vienna, it is known, in 1632 and Mr. Ep- 
stein’s picture would be only slightly earlier. Another im- 
portant picture from this time is in America —the portrait 
of the little prince, Baltasar Carlos, with a dwarf, belong- 
ing to the Museum of Fine Arts, Boston, but that picture it 
was impossible to include in this present exhibition. ‘The Bos- 
ton painting displays clearly the artist’s growing appreciation 
of aerial perspective. Mr. Bache’s Self-Portrait would date 
from some years later. Dr. Mayer considers this beautiful 
work to be a study for the self-portrait which is in the fa- 
mous “‘Lances,”’ as the Surrender of Breda, painted in 1647, 
has been nicknamed. The Emery Philip 1v would take its 
place at about 1650 or 1655, as Philip, born in 1605, appears 
in it at about the age of forty-five or fifty, and Mr. Willys’ 
Head of a Girl is judged to be from the artist’s late years. 
Mr. Morgan’s Maria Teresa is in all likelihood a picture 
sent to the French court when the marriage of Louis xiv 
to that princess was under discussion. Several authorities do 
not consider this work to be by Velazquez but attribute it to 
the hand of his son-in-law, del Mazo, whose copies of Velaz- 
quez have for centuries baffled the wits of the connoisseurs. 

The pictures Velazquez painted after he became court 
painter have remained, with the exception of portraits sent 
as gifts to foreign potentates and of some studies which never 
entered the royal collection, the property of the Spanish 
Crown. His developed style can be studied only in the Prado 
and nowhere else can one form a conception of his full ac- 
ccomplishment. America is fortunate in having gathered so 
many examples. Outside of those we show here and the others 
mentioned in these paragraphs, there are three or four others 
—a head in the Hispanic Society, a masterly Philip 1v in the 
Frick Collection, a portrait of his early Madrid period be- 
longing to Mr. Van Horne at Montreal, and the head of 
Mariana of Austria which Mr. Bingham lent to this Mu- 
seum a year or so ago. 


[ xviii | 


INTRODUCTION 


Practically speaking, Velazquez confined himself to por- 
traits — of people, of animals, of places——and within these 
limits, more than any other he deserves to be called the per- 
fect painter. He shows no imagination, no emotion, no great 
intellectual power in his works, only good sense and wonder- 
ful eyesight and marvelous skill of hand. His pictures leave 
us uninformed of any of his preferences even; he is surely 
the most impersonal of great artists. An unusually stupid, 
wooden-faced royal family, their dwarfs and buffoons, 
chance models who might represent mythological or histori- 
cal characters, these were the subject matters of his pictures. 
With perfect economy of pigment and brush strokes, with- 
out any evidence of effort or worry or haste, the appearances 
of these people are set upon the canvas, where they seem to 
live and breathe. Mengs, the first painter of the classical re- 
vival in the eighteenth century, who would not be pre- 
disposed, one would say, to judge realistic art kindly, has 
summed up definitively the critical judgment on this painter. 
Speaking of his masterpiece, The Tapestry Workers, he said 
that it seemed to be painted by will only, without aid of hand. 

Alonso Cano, sculptor and architect as well as painter, 
studied in Seville and was subject to the same influences as 
the young Velazquez and Zurbaran. His early pictures have 
marked likeness to the work of these painters, but later he 
approached the Italian spirit in his ideal and sentimental 
point of view and his altarpieces have a kinship with the re- 
ligious pictures of the Carracci. The Holy Family with 
Angels, lent by Mr. Ryan, is the only work by him in our 
exhibition but another of his pictures, more closely in the 
Seville tradition, the Christ Blessing Children, belongs to the 
Museum and can be seen in Gallery 29. 

The primacy in celebrity among Spanish artists now ac- 
corded to Velazquez was formerly held by Murillo. From 
the time of the Napoleonic wars, when his pictures were 
dispersed, up to the time of Manet and the Impressionists, 
all Europe considered Murillo the greatest of the Spaniards. 


[ xix | 


THE METROPOLITAN MUSEUM OF ART 


His art was in accord with the taste of the mystical and de- 
vout people of his provincial neighborhood. It is only natural 
that his Immaculate Conceptions, his Miracles, Ecstasies, Vi- 
sions with their yearning and rapturous expressions, and his 
somewhat comic opera street-children should be judged 
mawkish and sentimental in a materialistic age. But with all 
these shortcomings he had great artistic gifts and it is our 
contention that the fact is proved by his works in this exhi- 
bition, which comprise practically all his best to be found in 
America. The noble canvas of the Young Saint ‘Thomas of 
Villanueva distributing his garments, from the Emery Col- 
lection, lately bequeathed to the Cincinnati Museum, painted 
for the Convent of Saint Augustin in Seville, has been pro- 
nounced by Dr. Mayer to be the most beautiful genre picture 
he ever painted. Saint Diego of Alcala surprised by his Su- 
perior is one of the series painted for the Franciscan Monas- 
tery of Seville and one of its companion pictures is the fa- 
mous “Cuisine des Anges” of the Louvre. These were the 
paintings which made his reputation, “over-night” one might 
say, when as a young man of twenty-eight he undertook this 
important commission on his return to Seville after a short 
visit to Madrid. Saint Diego surprised by his Superior be- 
longed to the eminent connoisseur, the late Charles B. Cur- 
tis, whose book on Velazquez and Murillo was the first 
scholarly attempt of modern times to treat of these masters. 
The picture is lent by Mrs. Charles B. Curtis and with the 
exception of its exhibition in this Museum in 1887-88, it has 
never been publicly shown in modern times. It is remarkable 
for its reality of characterization and for its solidity of work- 
manship, having passages which recall the realism of Zur- 
baran and the young Velazquez. The Immaculate Concep- 
tion lent by Mr. Hutchings, one of Murillo’s many render- 
ings of this favorite subject, shows admirably the qualities 
for which he was famous in the last century. Mr. Boross’ 
silvery, poetic little landscape with Jacob and Rachel gives 
a glimpse of his powers in this branch. 


[ xx J 


INTRODUCTION 


‘The portrait of Andrade, a late purchase by this Museum, 
now shown here for the first time, like other portraits by 
him is free of any sentimentality. The painter’s admiration 
for Velazquez and Van Dyck is evident in our picture. For a 
hundred years and more it has been considered for one rea- 
son or another as the best of his portraits. “The eyes seem to 
look at you,” said a then eminent painter in 1828. Today, no 
doubt because of the tendency of mankind to apply their 
present idiosyncracies to the monuments of former ages, we 
are inclined to fancy on the artist’s part an amused and sly ap- 
preciation of Andrade’s self-complacency—his walk would 
be a strut, we feel, and we wonder what lotion in great 
quantities he must have used to make his hair so fuzzy. But 
the real vitality of the portrait remains the foundation for 
the various interpretations each epoch may give to it. 

With Valdes Leal, twelve years younger than Murillo, no 
work by whom we have been able to find here, the cycle of 
the great painters of Seville closes, nor did painting at the 
capital long survive. The pupils of Velazquez — del Mazo, 
Pareja, and the others—carried on the methods of that 
master after his death. Carrefio de Miranda painted portraits 
of Charles 1 and of his mother, Dofia Mariana of Austria, 
in her widow’s weeds—the queen who in her young days had 
so often sat to Velazquez. Claudio Coello was the last of the 
great epoch. In 1692 Charles 11 summoned from Italy Luca 
Giordano and the young artists abandoned the sober and real- 
istic style natural to their country for the brilliancies and 
facilities of the Italian decadence. 

Giordano could imitate any one. He had imitated Ribera, 
whom he had known in Naples, so successfully that his imi- 
tations still pass for originals in some places. In Spain he 
amused himself by making at least one counterfeit of the 
great Spaniard. The Betrothal in the National Gallery of 
London, long a stumbling-block for amateurs, is now, it is 
pretty generally agreed, an imitation of Velazquez by Gior- 
dano and not by Velazquez himself. Giordano’s natural style 


[ xxi J 


THE METROPOLITAN MUSEUM OF ART 


is that which he developed from his master, Pietro da Cor- 
tona, an example of which is to be seen in our Gallery 30 
— florid, glittering, theatrical. Such were the paintings he 
executed in the Escorial. 

‘The house of Austria became extinct in 1700. With the 
Bourbons (Philip v was French by birth and taste) the 
French style was introduced. Spanish art was in a state of 
coma and remained so up to the appearance of Goya. Spain 
returned to the pre-seventeenth-century conditions; artists 
from abroad were imported to carry out the principal com- 
missions. Tiepolo, the last of the great Venetians, was called 
by Charles 111 to decorate the Madrid royal palace, and after 
‘Tiepolo’s death in that city in 1770 the theoretical and pe- 
dantic apostle of the newly appeared classicism, the Bohemi- 
an Raphael Mengs, was summoned to take charge of artistic 
affairs. It was through Mengs that Francisco Goya received 
his first royal commissions, cartoons for tapestries which 
Charles 1 directed should deal with the daily life of Spain 
and not with the mythological and allegorical themes which 
up to that period had been the rule. 

Unexpected as Goya’s appearance seems among the listless 
Spanish imitators of foreign fashions in the latter half of the 
eighteenth century, the genesis of his style is clearly trace- 
able. The tapestry cartoons are Spanish interpretations of the 
contemporaneous art of France with its accepted recipes for 
compositions, figures, landscapes, and animals, although here 
and there the realistic and ironical spirit of the painter in- 
trudes itself into his designs. But the main influence in Goya’s 
formation comes from Tiepolo. The every-day subject makes 
its appearance in some of Tiepolo’s pictures as it does in 
Longhi’s. The wish of Charles tr that such subjects be 
drawn upon for his tapestries was not a capricious whim but 
was quite in accord with the changing taste. The Venetian 
influence in England, another backward country artistically, 
produced in Hogarth a painter analogous in many respects 
to Goya, the result of the Venetian influence in Spain. A 


[ xxii | 


INTRODUCTION 


Spirit of examination and of scepticism was abroad in all 
Europe as the ancient institutions were dissolving. 

Goya was the best fitted in all ways to be the apostle of 
the new movement in art and his is the work which bridges 
the old style and the modern. All his experiences and emo- 
tions seem to record themselves as though automatically in 
what he painted and etched —his hatred of the Inquisition 
and the Church; his contempt of the decaying ruling classes 
with their pretensions and affectations; his disgust at the stu- 
pidity of war. But strength, beauty——of women particularly 
— bravery, the time-old occupations and pastimes he cele- 
brates enthusiastically: his loves as well as his hatreds are all 
superlative in degree. No more marked contrast to the re- 
served and prudent Velazquez can be found in all art than 
this impetuous and boisterous Goya. 

With the exception of Arthur and Alice Sachs’s Bull Fight 
and Mr. Ryerson’s series of six little panels illustrating the 
history of the Capture of a Brigand by a Monk, all of 
Goya’s pictures in our exhibition are portraits. None of his 
portraits of ironical effect are included, such as that mon- 
strous arraignment of the Family of Charlestvin the Prado, 
although a masterly sketch for one of its figures, Maria 
Luisa of Parma holding her baby, is on view in Gallery 
29. In our exhibition we can see with what enthusiasm he 
responds to the human qualities he admired. The Spanish 
nobility were eager to sit to him. Several portraits of nobles 
are shown here as well as a number of those he painted, not 
as commissions, but of friends and acquaintances whose per- 
sonalities interested him. He was a prodigious worker, often 
finishing a portrait in one sitting, but a sitting to him was apt 
to last all day long. He had no mercy on his models and his 
own energy was tireless. 

Those who seek figure compositions by Goya other than 
those lent to us by Mr. and Mrs. Sachs and by Mr. Ryer- 
son, which are mentioned above, will find at the Hispanic 


Society a sketch for his Third of May in the Prado—the 
[ xxiii ] 


THE METROPOLITAN MUSEUM OF ART 


most horrible picture in the world! This Museum owns a 
Bull Fight, shown in Gallery 29. Besides these there are 
several works of the sort owned in America which could 
not be borrowed for our occasion. For the fantastical and 
purely imaginative and satirical aspects of his art one must 
consult his etchings and lithographs, which can be seen in 
our Department of Prints. In them this astonishing artist 
can be most conveniently seen as the forerunner of both the 
romantic and the realistic movement of the last century — 
as the ancestor of Géricault, Delacroix, Courbet, Daumier, 
and of Edouard Manet, who remains after all his most at- 
tentive follower. John Sargent, whose memorial exhibition 
was held in this same gallery two years ago, was also one of 
Goya’s artistic descendants. Thus the work of Goya brings 
us into direct touch with modern art. His career is the limit 
of the scope of our exhibition. 


BRYSON BURROUGHS. 


[ xxiv ] 


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CATALOGUE 


The pictures are arranged alphabetically by artist and title; 
the dates when known are given exactly or approximately. 
Except when otherwise noted, all are painted in oil on can- 


vas and are illustrated. 
ir (% wtRn : yw 
Alonso Cano eas we A | 


Born 1601 at Granada; died there 1667. Pupil of Pacheco 
and Castillo. 


I HOLY FAMILY WITH ANGELS 


H. 47%; w. 3934 inches. 
Lent by Thomas Fortune Ryan. 


‘ 5 
2 i sm 
| o Sco Fe 
: 
7 


Francisco Collantes O pick ne Vi Cheat 2 


bpd a 2 


Born 1599 at Madrid; died there 1656. Historical and re- 
ligious subjects with Pdsene backgrounds. Cyt 


2 HAGAR AND ISHMAEL 


H. 43%; w. 55% inches. Signed: Fran Collantes f. 
Lent by the Rhode Island School of Design. 


Francisco Jose de Gova p Lucientes 


Born 1746 at Fuente de Todos; died in 1828 at Bordeaux, 
France. Court painter to Charles m1 and tv. Portraits and 
fantastic subjects. Also an important etcher. 


3 THE YOUNG DUKE OF ALBA A bout 1785-1787 
H. 3538; w. 2734 inches. 
Lent by Mrs. Edwin S. Bayer. 


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THE METROPOLITAN MUSEUM OF ART 


4 ARAGONESE DWARF 


H. 33; w. 243% inches. 
Lent by the Fogg Art Museum. 


ma - 
5 THE ARTIST ASENSI ( Son Aare vo Yuba) . 


A. 217%; w. 163% inches. Inscribed: Goya a su | Amigo 


A sensi. 


Lent by Arthur and Alice Sachs. 


6 BULL FIGHT EVGEWIO 2UCAS. 


H, 29; w. 43% inches. 
Lent by Arthur and Alice Sachs. 


7-12 THE CAPTURE OF THE BRIGAND MARGAROTO 
BY THE MONK PEDRO DE ZALDIVIA About 1806 


Six panels; h. 1178; w. 15% inches each. 

THE ENCOUNTER 

THE MONK SNATCHES THE GUN OF THE BRIGAND 
THE STRUGGLE OVER THE WEAPON 

THE VICTORIOUS MONK THREATENS THE BRIGAND 
THE SHOOTING OF THE BRIGAND 

THE BINDING OF THE BRIGAND 


Lent by Martin A. Ryerson. Ch. Cano. 


I3 DONA FRANCISCA VICENTA CHOLLET Y 
CAVALLERO 1806 
H. 39; w. 32 inches. Inscribed: D4 Franc4 Vicenta Chol- 
let y / Cavallero Por Goya aio 1806. 

Lent by Harrison Williams. 


La 


SPANISH PAINTINGS 


14 DON FRAY MIGUEL FERNANDEZ 1815 


j 


H. 38; w. 33 inches. Inscribed: El Illmo Senor D” Fr. \iyshdhi, Sew 
Miguel Fernandez Obispo de Marcopolis, A dministrador © madacen. Parl 


A postolico de Quito. Pt Goya avo 1815. 
Lent by the Worcester Art Museum. 


I5 GENERAL NICHOLAS GUYE 


H., 425 W. 33% inches. Tyathe 2 
Lent by J. Horace Harding. 


16 VICTOR GUYE 
H. 42%; w. 34 inches. 
Lent by J. Horace Harding. 


I7 DON ANTONIO RAIMUNDO IBANEZ About 1808 


H. 3854; w. 28% inches. ‘an Mee 


Lent by Jacob Epstein. L> BAAN put - Retntasnl™ Uf 12 


18 PEPE ILLO A bout 1783-1789 


H. 253 w. 19) inches. Lif Clanton « 
Lent by Mrs. Charles 8. Payson. HOLD RRNRE PETS, OF 


I9 DON MANUEL OSORIO DE ZUNIGA 1784 
H.5034; W.37%4 inches. Signed: D" Fran° Goya. Inscribed: 


ELS.D MANVEL OSORIO MANRRIOV B ZVNIGA S'BGINES NACIO ENA AIBI784 


Lent by Jules 8. Bache. Wa Senay Ceres 


20 PACHECO, DUKE OF OSUNA About 1790 Ar. a Gat 
H. 44%; w. 33 inches. Inscribed: El Duque de / Osuna Por yyp.ouarr. & 


oya. 
Lent by J. Pierpont Morgan. 


21 PORTRAIT OF A LADY A bout 1787 
H. 40%; w. 29% inches. 
Lent by Mrs. William R. Timken. 


heal 


aX A 2 Fea ha akar, 


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THE METROPOLITAN MUSEUM OF ART 


Rat, Gans: 22 TADEO BRAVO DE RIVERO 1806 
aw — ‘ e . 
Crywdev H. 81%; w. 49% inches. Inscribed: D” Tadeo Bravo de / 


Rivero, por su am° Goya / 1806. 
Lent by Michael Friedsam. 


i i we laatin 23: PEDRO ROMERO A bout 1795-1800 
Lew . Maded H. 33; w. 25% inches. 
Mirkin ka tal Lent by Arthur and Alice Sachs. 
ME ister, boi, 
: 24 DON BERNARDO YRIARTE 1797 
a H. 42%; w. 33% inches. Inscribed: D" Bernardo Yriarte, 
(row GU, Vers Vice prott de la R! Academia de las / txes nobles Axtes, re- 
Krroedbeg txatado por Goya entestimonio de mu/tua estimac® y afecto 
ano de 1797. 
Lent by Edward 8. Harkness. 
Cl Greco, real name Domenico Cheotocopull 
Born about 1548 at Candia, Crete; died 1614 at Toledo. 
Influenced by Titian, Tintoretto, and the Bassani. Settled in 
; ‘Toledo shortly before 1577. ; 7 
ty ry dal ate V dad . OV ve (rate tere, Var th by dive ~ 


Buren wd Mel 25 THE ADORATION OF THE SHEPHERDS W4™ -bowm aa hf 
H, 43343 w. 2598 inches. rd. Woon a. About 1594-1604 


ee vege aye ry ee apy aes 
babi nigh ; Lent by George Blumenthal. Ws wd Wows, VY arty = Bal arma 
’ — Puro ten Fearn anrhot rr weevik , ; : 
, a ‘\\26 THE AGONY IN THE GARDEN ©: a — Pras ees ie 1 
: , _ rm mre ; us H. 40%; W. 4534 inches. 4 agar Mane! ap A & Amd, 
A 1 : Cad Une von Olen dy , peormnie, 
eke Lent by A rthur and A lice Sachs. aot; seers eae ma Sat 
ts : tak, wheal G Ks D Rivhawns hyn bie Vrtibnc C1 Oka s 3 ; 
Ly fy 


27 THE APPARITION OF THE VIRGIN TO SAINT 
DOMINIC Cotutwrhc uikev views, About 1597-1603 
Hi. 393 W. 23% inches. Vim ble mantle rad Arn, Suncast hin “ 


Chu | a Pe i : - ~“DWe aisle . ‘ f : : 
Cnelond Yardunen Lent by J. Horace Harding. Vt -be wath , Hane Bere pine alae 
a a . at FAS Ahh Raman — SVD. oleh v. hw’ UE wilt Yar GAs WES: 


C41] 


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on / ; SPANISH PAINTINGS 


48 CHRIST DRIVING THE MONEY-CHANGERS FROM 
THE TEMPLE _ About one -1576 


Vil ats ile, van Alef « ttt 
A. 46; w. 57% inches. adem es ag i ek pe es ati 
Lent by the Minneapolis Institute of wr tS We J eee ae 


2 


ss CHRIST DRIVING THE neal ag -CHANGERS Se 


BM (Ay TRA We, mtne 


THE TEMPLE , WA Uae * mee ts we | As drs laetow | dire 
ve H.17; w. 21 inches, Ree Yurds mn vb, )s A eg oan Y Wns 
Bon Lent by Aaron Naumburg. + Ao¥ * vj ene he Chnrennens ee ha 
: lode. - ay) yn Pel 
: 30 SAINT DOMINIC QR Tramintante: A 

< Ett Ry 


pA HT, 26; w. 23 inches. Signed in Greek. (\rrrrumsea Bo wad.) , r/erve iv 
_ 


Lent by John Nicholas Brown. Menthe. Hivroore O01 het dbinn V.ormak 


: rit. 
: 31 SAINT ILDEFONSO OF TOLEDO A bout 1605 hol t 
be don 

: H. 44%; w. 2534 inches. Signed in Greek. ce ike . 
: Lent by Andrew W. Mellon. — Wivteve low 9S, +1 sae 
2 ata ung 
ce” 32 SAINT JAMES THE LESs (?) Ea hous 1599-1606 

# 7 A i pepnaiet XY 
or H. 1474; w. 10% inches. ~~ | wile» (fri WY Aah comers 
ved Lent by George Blumenthal. 

or > OO hn . a Lewd | if eA dé, “/ 


‘tr « AWS Chrrramt wa, 
33 SAINT PAUL yd ney a Ab 
1 


H, 272; w. 23% inches. Signed in Greek. “vr 
Lent by J. Horace Harding, “rt : phd fides wr beast 


out oF: 1600 Veamnrbe om 


an 


\ 


34 SAINT PHILIP Vf A bout 1599-1606 
Hi. 14% 5 w. I 0% inches. ry di i. e (our ; i : Wau Ma Me ven, line shee 
Lent by George Blumenthal. '~<« parts Meh Veer PT 


25 PORTRAIT OF AMAN 14. Ay pirat Lye anee | Awe va 
A. 209% ) ali 8 inches. Mutt ert Jé € Bat Vin \ aid } re Lae 99 m~ “Yv “*.. 
Lent by Michael Friedsam. w4 


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SOAR eae . 
- \ 
Yow fan fat me le dle paws 


dbs Meda V. Canctpatle, 


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yt 


THE METROPOLITAN MUSEUM OF ART 


36 PORTRAIT OF A MAN ¥y urrrnmergline + yrtlendes, Welw as 
H. 1532; w. 1174 inches. Pro ee UR ty Che Mah. bop ry ed 
Lent by F. H. Hirschland. «,; ara Wrronille paareli ‘Lee - 

37 THE REPENTANT PETER A bout 1598-1602 


H. 373 w. 2934 inches. | ee 
Lent by Duncan Phillips.  Wthawshoy . §.C. 


Francisco de Herrera, the Elver Garrmevr » ee 


Born 1576 at Seville; died 1656 at Madrid. Influenced by 
Ribera; the first teacher of Velazquez. 


38 THE CRIPPLE 


H. 29; w. 2334 inches. 
Lent by the Worcester Art Museum. 


Pablo Lenote ney ae % Le Caan Ns : longa 
Born in the early seventeenth century at Seville; died after 
1662 at Cadiz. Pupil of Roélas. 


39 THE MARTYRDOM OF SAINT STEPHEN 


H. 6414; w. 46% inches. 
Lent by Eugen Boross. 


Juan Bautista Wartines del Maso 
Born about 1610 at Madrid; died there 1687. Pupil and 


son-in-law of Velazquez. 


40 KNIGHT OF THE ORDER OF MONTESA 
(OR ALCANTARA) 


H. 33; w. 2434 inches. 
Lent by Eugen Boross. 


[6] 


SPANISH PAINTINGS 


41 THE INFANTA MARGARITA 


H. 29%; w. 24 inches. 
Lent by Mortimer L. Schiff. 


| Bartolome Esteban Murillo 


Born 1618 at Seville; died there 1682. Pupil of Juan de 
Castillo. Influenced by Velazquez and Van Dyck. Religious 
and genre subjects, portraits. 


42 DON ANDRES DEANDRADE Y COL About 1650- 1660 db Avie #4 er 
‘ : rai v4 .. Ae 
H. 79; w. 47 inches. Inscribed: D" AnpREs de Andrade ao 
5 e ae eee A by hep 
la Col. i en uy 
” - mf 4 ; ’ ake « U2}. 
The Metropolitan Museum of Art. gl ean ties 
tA if s ta hing. uf 24, 
43 SAINT DIEGO OF ALCALA A bout 1646 
° & on yp RS Pale mb é BAA Uta ld * 
H. 9234; w. 77% inches. ra peg ne terran lt © at Caan caw (18 
A dD. Pye) Draw > OO Ra He 7? 95% 
Lent by Mrs. Charles B. Curtis. tite. Masrinss. | 2, Lind, Pritts Mas 
ge i oa é SRA a ? ee Bs 
44 HEAD OF CHRIST W.7. Shes. eos: Cf. Gis, eto 
HA. 233%; w. 19 inches. 
’ 
Lent by Eugen Boross. 
i) >? Me Ae, Cady a 
45 THE IMMACULATE CONCEPTION, WITH A #wr™™ oo 
MIRROR Leb agree Sade 
Mtr. AP Ae e 
: A. 775 W. 583% inches. La M oa ber ®% : 


Lent by DeWitt V. Hutchings. 


46 LANDSCAPE WITH JACOB AND RACHEL 


H. 1934; w. 29% inches. 
Lent by Eugen Boross. 


47 SANTA ROSA DI VITERBO 
H. 3234; w. 25 inches. 
Lent by Mrs. Edward D. Thayer. 


yd 


THE METROPOLITAN MUSEUM OF ART 


48 THE YOUNG SAINT THOMAS OF VILLANUEVA 


H. 75; w. 57 inches. A bout 1676 
Collection of the late Mrs. Thomas J. Emery. ( inant 


rue, 
Juan Pantoja de la Crus es ) 


Born in 1551 at Madrid; died there after 1609. Court 
painter for Philip 1m and 111. 


49 PORTRAIT OF A) LADY 


Hl. 253 w. 22 wches. 
Ra Me 6h ert 
Lent anonymously. INU [rthnen, 3 Uae tues) 


Fusepe de Wibera, called Lo Spagnoletto 


Born 1588 at Jativa, Valencia; died 1652 at Naples, Italy. 
Influenced by Caravaggio. 


50 THE ASTRONOMER a as 


H. 31; w. 38% inches. Signed: Jusepe de Ribera F / 1638. 
Lent by the Worcester Art Museum. 


51 SAINT JEROME 1640 


H. 50; w. 39% inches. Signed: Jusepe de Ribero esjanel F. 
/ 1640. 
Lent by the Fogg Art Museum. 


52 THE PHILOSOPHER [\p,uw Govt - inte eat 
H. 443; w. 34 inches. PN a LA & 
1 uh eh Ang wr ee | 
Lent by David E. Stalter. 1 : } | : 
Sop Cf 


53 PORTRAIT OF A MAN 
ish 303%; WwW. 2534 inches. 
Lent by Arthur and Alice Sachs. 


54 PORTRAIT OF A MUSICIAN 1638 


H. 25; w. 31 inches. Signed: Jusepe de Ribera / F. 1638. 
Lent by the Toledo Museum of Art. 


C84 


SPANISH PAINTINGS 


55 PORTRAIT OF AN OLD MAN Liming CAL 
HA. 3834; Ww. 2858 inches. 4% A. mr ‘ 
Lent by Paul M. Warburg. VLFLA » Ae 


Spannoletto, Lo, see Ribera, Jusepe de 
Momenico Cheotocopuli, sce Greco, El 


Luis Cristan 
Born 1586 near Toledo; died there 1640. Pupil of El Greco. 


56 THE ADORATION OF THE MAGI 1620 


H. 45.43 w. 91% inches. Signed: Lyys Trista. F 1620. 
Lent by Eugen Boross. 


Mieno WRonrigues be Silba p Velasques 


Born 1599 at Seville; died 1660 at Madrid. Pupil of Her- 
rera and Pacheco. Court painter to Philip tv. 


57 ISABELLA OF BOURBON A bout 1631 
H. 4934; w. 40 inches. 
Lent by Max Epstein. 


58 THE MAN WITH THE WINE GLAss About 1623 


H. 30%; w. 25 inches. oN Prine sa Barman , | 
Lent by the Toledo Museum of Art. seat es 
59 THE INFANTA MARIA TERESA MALO. 


H. 58'4; w. 40% inches. 
Lent by J. Pierpont Morgan. 


60 SAINT MATTHEW Before 1623 


H. 30; w. 25 inches. Inscribed: 8. Marruars. 
Lent by Hugh Blaker. 


[To] 


THE METROPOLITAN MUSEUM OF ART 


61 PHILIP IV A bout 1650-1655 

H, 24; w. 20 inches. Maer : 

Collection of the late Mrs. Thomas J. Emery. C. nen’ wan 
| Avr Mua, 

62 PORTRAIT OF A GIRL 

H. 254; w. 2234 inches. 

Lent by John N. Willys. 

63 SELF-PORTRAIT A bout 1634 


H. 27; w. 21% inches. 
Lent by Jules §. Bache. 


Francisco de Zurbatran 


Born 1598 at Fuente de Cantos; died 1662 at Madrid. In- 
fluenced by Ribera. Religious subjects and portraits. 


64 CHRIST AT GETHSEMANE 


H. 62%; w. 45 inches. 
Lent by Eugen Boross. 


65 THE DAUGHTERS OF THE ARTIST JUAN DE 
ROELAS ; | 
H. 5538; w. 38% inches. Not illustrated. (‘ue * Lada: ab 
Lent by Mrs. Whitelaw Reid. Cyprabe das Sp. Maentn, 


66 THE FLIGHT INTO EGYPT EAL p >t). 
H. 753 w. 97 inches. 
Lent by the Toledo Museum of Art. 


67 PORTRAIT OF A GIRL u}) 


H. 3334; w. 22% inches. 
Lent by the Detroit Institute of Arts. 


A bout 1635-1640 


[10 ] 


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INDEX 

TITLE NUMBER 
Adoration of the Magi, The, by Tristan 56 
Adoration of the Shepherds, The, by Greco 25 
A gony in the Garden, The, by Greco 26 
Alba, The Young Duke of, by Goya 3 
Andrade y Col, Don Andres de, by Murillo 42 
Apparition of the Virgin to Saint Dominic, by Greco 27 
Aragonese Dwarf, by Goya 4 
Asensi, The Artist, by Goya 5 
Astronomer, The, by Ribera 50 
Bull Fight, by Goya 6 

Capture of the Brigand Margaroto by the Monk Pedro 
de Laldivia, by Goya 7-12 
Chollet y Cavallero, Dona Francisca Vicenta, by Goya 13 
Christ at Gethsemane, by Zurbaran 64 

Christ Driving the Money-Changers from the T em- 
ple, by Greco 28, 29 
Cripple, The, by Herrera 38 

Daughters of the Artist Juan de Roélas, The, by Zur- 
baran 65 
Diego of Alcala, Saint, by Murillo 43 
Dominic, Saint, by Greco 30 
Fernandez, Don Fray Miguel, by Goya 14 
Flight into Egypt, The, by Zurbaran 66 
Guye, General Nicholas, by Goya 15 
Guye, Victor, by Goya 16 
Hagar and Ishmael, by Collantes 2 
Head of Christ, by Murillo 44 
Holy Family with Angels, by Cano I 
Ibanez, Don Antonio Raimundo, by Goya L7 


[Tri 


THE METROPOLITAN MUSEUM OF ART 


TITLE NUMBER 
Ildefonso of Toledo, Saint, by Greco 31 
Tllo, Pepe, by Goya 18 
Immaculate Conception, with a Mirror, T he, by Murillo 45 
Isabella of Bourbon, by Velazquez $7 
James the Less (?), Saint, by Greco ts 8 
Jerome, Saint, by Ribera 51 
Knight of the Order of Montesa, by Mazo 40 
Landscape with Jacob and Rachel, by Murillo 46 
Man with the Wine Glass, The, by Velazquez 58 
Margarita, T he Infanta, by Mazo 41 
Maria T eresa, T he Infanta, by Velazquez 59 
Martyrdom of Saint Stephen, T he, by Legote 39 
Matthew, Saint, by Velazquez 60 
Osorio de Zutiga, Don Manuel, by Goya 19 
Osuna, Pacheco, Duke of, by Goya 20 
Paul, Saint, by Greco 33 
Philip, Saint, by Greco 34 
Philip IV, by Velazquez 61 
Philosopher, T he, by Ribera 52 
Portrait of a Girl, by Velazquez < Nee 
Portrait of a Girl, by Zurbaran 67 
Portrait of a Lady, by Goya 21 
Portrait of a Lady, by Pantoja 49 
Portrait of a Man, by Greco 35, 36 
Portrait of a Man, by Ribera 53. 
Portrait of a Musician, by Ribera 54 
Portrait of an Old Man, by Ribera 55 
Repentant Peter, The, by Greco 37 
Rivero, Tadeo Bravo de, by Goya 22 
Romero, Pedro, by Goya 23 
Rosa di Viterbo, Santa, by Murillo 47 
Self-Portrait, by Velazquez 63 
Thomas of Villanueva, The Young Saint, by Murillo 48 
Yriarte, Don Bernardo, by Goya 24 


[12] 


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I 
HOLY FAMILY WITH ANGELS, BY CANO 


2 
HAGAR AND ISHMAEL, BY COLLANTES 


3 


THE YOUNG DUKE OF ALBA, BY GOYA 


4 
ARAGONESE DWARF, BY GOYA 


5 


THE VARTIST ASENSI, BY -GOYA 


» on elt we hale 


» BY GOYA 


BULL FIGHT 


THE CAPTURE OF THE BRIGAND MARGAROTO, BY GOYA 


7 8 


EME sEN COUN TER THE MONK SNATCHES THE GUN 


THE CAPTURE OF THE BRIGAND MARGAROTO, 3756002 


9 10 
THE STRUGGLE THE MONK THREATENS THE BRIGAND 


THE CAPTURE OF THE BRIGAND MARGAROTO, BY GOYA 


II 12 
THE SHOOTING THE BINDING 


3 
DONA FRANCISCA VICENTA CHOLLET Y CAVALLERO 


I 


~ 


BY GOYA 


14 
DON FRAY MIGUEL FERNANDEZ, BY GOYA 


IS 


GENERAL NICHOLAS GUYE, BY GOYA 


pees 


Le 


tn Satie 


a4. Wis 


16 


VICTOR GUYE, BY GOYA 


17 
DON ANTONIO RAIMUNDO IBANEZ, BY GOYA 


18 


PEPE ILLO, BY GOYA 


9 


DON MANUEL OSORIO DE ZUNIGA, BY G 


I 


OYA 


20 


BY GOYA 


d 


PACHECO, DUKE OF OSUNA 


21 
PORTRAIT OF A LADY, BY GOYA 


PAS. 
TADEO BRAVO DE RIVERO, BY GOYA 


23 


PEDRO ROMERO, BY GOYA 


24 
DON BERNARDO YRIARTE, BY GOYA 


25 


THE ADORATION OF THE SHEPHERDS, BY GRECO 


26 


TIES AGONY- IN THE GARDEN, BY/GRECO 


27 
THE APPARITION OF THE VIRGIN TO SAINT DOMINIC 


BY GRECO 


28 


CHRIST DRIVING THE MONEY-CHANGERS 
FROM THE TEMPLE, BY GRECO 


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29 
CHRIST DRIVING THE MONEY-CHANGERS FROM THE 
TEMPLE, BY GRECO 


30 
SAINT DOMINIC, BY GRECO 


31 


SAINT ILDEFONSO OF TOLEDO, BY GRECO 


32 


SAINT JAMES THE LEss (!), BY GRECO 


33 


SAINT PAUL, BY GRECO 


34 


SAINT PHILIP, BY GRECO 


35 


PORTRAIT OF A MAN, BY GRECO 


36 


PORTRAIT OF A MAN, BY GRECO 


37 


THE REPENTANT PETER, BY GRECO 


38 


ature CRIPPLE, -BY HERRERA 


39 


THE MARTYRDOM OF SAINT STEPHEN, BY LEGOTE 


40 
KNIGHT OF THE ORDER OF MONTESA, BY MAZO 


41 
THE INFANTA MARGARITA, BY MAZO 


oer 
DON ANDRES DE ANDRADE Y COL, BY MURILLO 


43 
SAINT DIEGO OF ALCALA, BY MURILLO 


44 
HEAD OF CHRIST, BY MURILLO 


45 


THE IMMACULATE CONCEPTION, WITH A MIRROR 
BY MURILLO 


46 


LANDSCAPE: WITH JACOB AND RACHEL, BY MURILLO 


47 


SANTA ROSA DI VITERBO 


BY MURILLO 


d 


48 
THE YOUNG SAINT THOMAS OF VILLANUEVA 
BY MURILLO 


49 
PORTRAIT OF A LADY, BY PANTOJA 


50 


THE ASTRONOMER, BY RIBERA 


51 
SAINT JEROME, BY RIBERA 


52 
THE PHILOSOPHER, BY RIBERA 


oy 


PORTRAIT OF A MAN, BY RIBERA 


54 
PORTRAIT OF A MUSICIAN, BY RIBERA 


35 


PORTRAIT OFAN VOU 


MAN, BY RIBERA 


D 


56 


THE ADORATION OF THE MAGI, BY TRISTAN 


* 


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Hg gree EO 

tee a mate 

Scone ean ¢ 


* 
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PAR 
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a7 
ISABELLA OF BOURBON, BY VELAZQUEZ 


58 


THE MAN WITH THE WINE GLASS, BY VELAZQUEZ 


59 


THE INFANTA MARIA TERESA, BY VELAZQUEZ 


60 


SAINT MATTHEW, BY VELAZQUEZ 


61 


PHILIP IV, BY VELAZQUEZ 


= 


6 
PORTRAIT OF A GIRL, BY VELAZQUEZ 


63 


SELF-PORTRAIT, BY VELAZQUEZ 


64 


CHRIST AT GETHSEMANE, BY ZURBARAN 


66 


THE FLIGHT INTO EGYPT, BY ZURBARAN 


67 


PORTRAIT OF A GIRL, BY ZURBARAN 


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